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40 Years Ago: The Rolling Stones Play Famous ‘Love You Live’ Club Shows
It wasn’t a surprise that the Rolling Stones were in Toronto in the winter of 1977. The Royal Mounted Police had alerted the world to the band’s Canadian presence due to one of the biggest drug busts in rock history.
In late February, Stones guitarist Keith Richards was found with an obscene amount of heroin and cocaine in his possession. The incident made international news because Richards was initially charged with trafficking (due to the large amounts) and there was a possibility that the rock star could be headed for a long jail sentence.
The other Stones, who had already been in Toronto practicing, were less than thrilled. Not just for the obvious reasons, but because Richards has potentially blown their cover. Months earlier, frontman Mick Jagger and his manager Peter Rudge had set up a pair of secret Stones shows at the city’s El Mocambo Club with the idea of using some of the live recordings for a forthcoming concert album.
Rudge “asked me, ‘Do you think you can pull it off?’,” promoter Duff Roman recalled to the National Post. “I told him that we could and then started thinking about how we could actually do it without anyone knowing.”
Secrecy was paramount because the upper level at the El Mo (as it’s known) only can contain about 300 people. If the Stones’ cover got blown, the shows would quickly become a media circus – especially with what was going on with Richards. The El Mocambo’s booker, Dave Bluestein, came up with a misdirection. He would schedule Montreal’s April Wine to play March 4 and 5 at the club.
“We had natural cover,” Bluestein said, “because if anything got out, we could say, ‘No, look, April Wine is playing. That’s the gig.’
April Wine was billed along with an unknown band, called the Cockroaches. Of course, in reality, the Canadian rockers were set to open for the biggest band in the world.
In order to ensure that the gigs were attended by friendly crowds, Roman devised a radio contest in which Stones fans could enter to see April Wine. He and Stones members handpicked the winners, who were told of the actual plan while on the bus en route to the gig. The guests entered through the back of the club to cut down on any chance hysteria.
That night, after April Wine’s opening set, the Rolling Stones took the El Mocambo stage, the arena-rocking band’s first club show in 14 years. Richards remembers being thankful for having something positive to do, after all of his legal and media woes.
#rocknroll #rollingstones #rockhistory #loveyoulive #musiclovers
Read More: 40 Years Ago: The Rolling Stones Play Famous 'Love You Live' Club Shows | http://ultimateclassicrock.com/rolling-stones-surprise-gig/?trackback=tsmclip
It wasn’t a surprise that the Rolling Stones were in Toronto in the winter of 1977. The Royal Mounted Police had alerted the world to the band’s Canadian presence due to one of the biggest drug busts in rock history.
In late February, Stones guitarist Keith Richards was found with an obscene amount of heroin and cocaine in his possession. The incident made international news because Richards was initially charged with trafficking (due to the large amounts) and there was a possibility that the rock star could be headed for a long jail sentence.
The other Stones, who had already been in Toronto practicing, were less than thrilled. Not just for the obvious reasons, but because Richards has potentially blown their cover. Months earlier, frontman Mick Jagger and his manager Peter Rudge had set up a pair of secret Stones shows at the city’s El Mocambo Club with the idea of using some of the live recordings for a forthcoming concert album.
Rudge “asked me, ‘Do you think you can pull it off?’,” promoter Duff Roman recalled to the National Post. “I told him that we could and then started thinking about how we could actually do it without anyone knowing.”
Secrecy was paramount because the upper level at the El Mo (as it’s known) only can contain about 300 people. If the Stones’ cover got blown, the shows would quickly become a media circus – especially with what was going on with Richards. The El Mocambo’s booker, Dave Bluestein, came up with a misdirection. He would schedule Montreal’s April Wine to play March 4 and 5 at the club.
“We had natural cover,” Bluestein said, “because if anything got out, we could say, ‘No, look, April Wine is playing. That’s the gig.’
April Wine was billed along with an unknown band, called the Cockroaches. Of course, in reality, the Canadian rockers were set to open for the biggest band in the world.
In order to ensure that the gigs were attended by friendly crowds, Roman devised a radio contest in which Stones fans could enter to see April Wine. He and Stones members handpicked the winners, who were told of the actual plan while on the bus en route to the gig. The guests entered through the back of the club to cut down on any chance hysteria.
That night, after April Wine’s opening set, the Rolling Stones took the El Mocambo stage, the arena-rocking band’s first club show in 14 years. Richards remembers being thankful for having something positive to do, after all of his legal and media woes.
#rocknroll #rollingstones #rockhistory #loveyoulive #musiclovers
Read More: 40 Years Ago: The Rolling Stones Play Famous 'Love You Live' Club Shows | http://ultimateclassicrock.com/rolling-stones-surprise-gig/?trackback=tsmclip
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Oh, yes. History was made on this day. Still one of the most requested bands and songs I get each week at +FRIDAY NIGHT SESSIONS. Dark Side. Dark Side!
#rocknroll #musichistory #pinkfloyd. #darksideofthemoon
#rocknroll #musichistory #pinkfloyd. #darksideofthemoon
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Rhapsody In Blue by George Gershwin, performed for first time On 12 February 1924
One of the most original compositions ever written by an American composer. Gershwin deserves a spot in the Pantheon of Music. This work is simply ambitious, creative, and wildly original. I believe it will eternally be unforgettable. In my mind, it helps to underline the quintessential American contribution to the history of music.
“The audience packed a house that could have been sold out at twice the size,” wrote New York Times critic Olin Downes on February 13, 1924, of a concert staged the previous afternoon at the Aeolian Hall in New York City.
Billed as an educational event, the “Experiment In Modern Music” concert was organized by Paul Whiteman, the immensely popular leader of the Palais Royal Orchestra, to demonstrate that the relatively new form of music called jazz deserved to be regarded as a serious and sophisticated art form. The program featured didactic segments intended to make this case—segments with titles like “Contrast: Legitimate Scoring vs. Jazzing.” After 24 such stem-winders, the house was growing restless. Then a young man named George Gershwin, then known only as a composer of Broadway songs, seated himself at the piano to accompany the orchestra in the performance of a brand new piece of his own composition, called "Rhapsody In Blue".
“It starts with an outrageous cadenza of the clarinet,” wrote Downes of the now-famous two-and-a-half-octave glissando that makes 'Rhapsody in Blue" as instantly recognizable as Beethoven’s Fifth Symphony. “It has subsidiary phrases, logically growing out of it…often metamorphosed by devices of rhythm and instrumentation.” The music critic of the New York Times was in agreement with Whiteman’s basic premise: “This is no mere dance-tune set for piano and other instruments,” he judged. “This composition shows extraordinary talent, just as it also shows a young composer with aims that go far beyond those of his ilk.”
It may be true that George Gershwin had always hoped to transcend the category of popular music, but the piece he used to accomplish that feat was put together very hastily. Just five weeks prior to the “Experiment in Modern Music” concert, Gershwin had not committed to writing a piece for it, when his brother Ira read a report in the New York Tribune stating that George was “at work on a jazz concerto” for the program. Thus painted into a corner, George Gershwin pieced "Rhapsody In Blue" together as best he could in the time available, leaving his own piano part to be improvised during the world premiere. "Rhapsody" would, of course, come to be regarded as one of the most important American musical works of the 20th century. It would also open the door for a whole generation of “serious” composers—from Copland to Brecht—to draw on jazz elements in their own important works.
Rhapsody In Blue: Gershwin
https://www.youtube.com/watch?v=ynEOo28lsbc
Rhapsody in Blue - Fantasia 2000 (This is great!)
https://www.youtube.com/watch?v=qWJ-kGuOA_Q
#georgegershwin #rhapsodyinblue #gershwin #jazz #musiclovers #americanmusic #composer #piano #pianomusic #newyorkcity
(via/ http://www.history.com/this-day-in-history/rhapsody-in-blue-by-george-gershwin-performed-for-first-time)
One of the most original compositions ever written by an American composer. Gershwin deserves a spot in the Pantheon of Music. This work is simply ambitious, creative, and wildly original. I believe it will eternally be unforgettable. In my mind, it helps to underline the quintessential American contribution to the history of music.
“The audience packed a house that could have been sold out at twice the size,” wrote New York Times critic Olin Downes on February 13, 1924, of a concert staged the previous afternoon at the Aeolian Hall in New York City.
Billed as an educational event, the “Experiment In Modern Music” concert was organized by Paul Whiteman, the immensely popular leader of the Palais Royal Orchestra, to demonstrate that the relatively new form of music called jazz deserved to be regarded as a serious and sophisticated art form. The program featured didactic segments intended to make this case—segments with titles like “Contrast: Legitimate Scoring vs. Jazzing.” After 24 such stem-winders, the house was growing restless. Then a young man named George Gershwin, then known only as a composer of Broadway songs, seated himself at the piano to accompany the orchestra in the performance of a brand new piece of his own composition, called "Rhapsody In Blue".
“It starts with an outrageous cadenza of the clarinet,” wrote Downes of the now-famous two-and-a-half-octave glissando that makes 'Rhapsody in Blue" as instantly recognizable as Beethoven’s Fifth Symphony. “It has subsidiary phrases, logically growing out of it…often metamorphosed by devices of rhythm and instrumentation.” The music critic of the New York Times was in agreement with Whiteman’s basic premise: “This is no mere dance-tune set for piano and other instruments,” he judged. “This composition shows extraordinary talent, just as it also shows a young composer with aims that go far beyond those of his ilk.”
It may be true that George Gershwin had always hoped to transcend the category of popular music, but the piece he used to accomplish that feat was put together very hastily. Just five weeks prior to the “Experiment in Modern Music” concert, Gershwin had not committed to writing a piece for it, when his brother Ira read a report in the New York Tribune stating that George was “at work on a jazz concerto” for the program. Thus painted into a corner, George Gershwin pieced "Rhapsody In Blue" together as best he could in the time available, leaving his own piano part to be improvised during the world premiere. "Rhapsody" would, of course, come to be regarded as one of the most important American musical works of the 20th century. It would also open the door for a whole generation of “serious” composers—from Copland to Brecht—to draw on jazz elements in their own important works.
Rhapsody In Blue: Gershwin
https://www.youtube.com/watch?v=ynEOo28lsbc
Rhapsody in Blue - Fantasia 2000 (This is great!)
https://www.youtube.com/watch?v=qWJ-kGuOA_Q
#georgegershwin #rhapsodyinblue #gershwin #jazz #musiclovers #americanmusic #composer #piano #pianomusic #newyorkcity
(via/ http://www.history.com/this-day-in-history/rhapsody-in-blue-by-george-gershwin-performed-for-first-time)
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Ziggy Stardust Makes His Earthly Debut on 10 February 1972
It was one of those events that virtually nobody witnessed, yet almost but many wish they had: the concert at London’s Toby Jug pub on February 10, 1972, when the relatively minor rocker named David Bowie became the spaceman Ziggy Stardust.
While it might be said of many such historic moments—like John meeting Paul at a backyard birthday party, or Elvis ad-libbing “That’s All Right (Mama)” between takes at Sun Studios—that their significance became clear only in hindsight, there was at least one man who knew exactly where Ziggy’s earthly debut would lead: David Bowie himself.
“I’m going to be huge,” is what David Bowie told Melody Maker less than three weeks earlier and still six months prior to the release of the album The Rise and Fall of Ziggy Stardust and the Spiders from Mars. “And it’s quite frightening in a way, because I know that when I reach my peak and it’s time for me to be brought down it will be with a bump.” That last bit may have been a case of Bowie confusing his Ziggy persona with real life, but that was what put the act over in the first place. Any rock musician can put on a costume, but how many could have inhabited the identity of an androgynous Martian rock star come to Earth in its dying days so convincingly, so effortlessly?
Bowie has credited two men with serving as his inspiration for creating Ziggy Stardust. One was the man he met and spoke with after his first Velvet Underground concert and took to be Lou Reed, but who was, in fact, Reed’s replacement in the Velvets. “He sat there and talked as though he was Lou and he was talking about how he wrote ‘Waiting For The Man’ and all these things!” recalled Bowie years later. “And it was at that point that I realised that, at the time, it didn’t matter to me if this was the real one or a fake one.” The other inspiration was Vince Taylor, an obscure figure to Americans, but a figure well-known in late-60s London as a former pop star very publicly losing his mind. “He fired his band and went on-stage one night in a white sheet. He told the audience to rejoice, that he was Jesus. They put him away.”
From this mix, Bowie created the persona and groundbreaking album that offered “a finger up the nose of pop sincerity…a boot in the collective sagging denim behind of hippie singer-songwhiners” and made his career. As one of the roughly sixty young Londoners in the audience that night at the Toby Jug now recalls, “Bowie had brought theatre to a humble pub gig….I couldn’t blink for fear of missing something—nothing would ever be the same again.”
#davidbowie #ziggystardust #rocknroll #music #musiclovers #1970s
https://www.youtube.com/watch?v=IWm03wYBTbM&list=PLuR3CWq59OyrTdWAeVkqH3F6UziQICYeN
(via http://www.history.com/this-day-in-history/ziggy-stardust-makes-his-earthly-debut)
It was one of those events that virtually nobody witnessed, yet almost but many wish they had: the concert at London’s Toby Jug pub on February 10, 1972, when the relatively minor rocker named David Bowie became the spaceman Ziggy Stardust.
While it might be said of many such historic moments—like John meeting Paul at a backyard birthday party, or Elvis ad-libbing “That’s All Right (Mama)” between takes at Sun Studios—that their significance became clear only in hindsight, there was at least one man who knew exactly where Ziggy’s earthly debut would lead: David Bowie himself.
“I’m going to be huge,” is what David Bowie told Melody Maker less than three weeks earlier and still six months prior to the release of the album The Rise and Fall of Ziggy Stardust and the Spiders from Mars. “And it’s quite frightening in a way, because I know that when I reach my peak and it’s time for me to be brought down it will be with a bump.” That last bit may have been a case of Bowie confusing his Ziggy persona with real life, but that was what put the act over in the first place. Any rock musician can put on a costume, but how many could have inhabited the identity of an androgynous Martian rock star come to Earth in its dying days so convincingly, so effortlessly?
Bowie has credited two men with serving as his inspiration for creating Ziggy Stardust. One was the man he met and spoke with after his first Velvet Underground concert and took to be Lou Reed, but who was, in fact, Reed’s replacement in the Velvets. “He sat there and talked as though he was Lou and he was talking about how he wrote ‘Waiting For The Man’ and all these things!” recalled Bowie years later. “And it was at that point that I realised that, at the time, it didn’t matter to me if this was the real one or a fake one.” The other inspiration was Vince Taylor, an obscure figure to Americans, but a figure well-known in late-60s London as a former pop star very publicly losing his mind. “He fired his band and went on-stage one night in a white sheet. He told the audience to rejoice, that he was Jesus. They put him away.”
From this mix, Bowie created the persona and groundbreaking album that offered “a finger up the nose of pop sincerity…a boot in the collective sagging denim behind of hippie singer-songwhiners” and made his career. As one of the roughly sixty young Londoners in the audience that night at the Toby Jug now recalls, “Bowie had brought theatre to a humble pub gig….I couldn’t blink for fear of missing something—nothing would ever be the same again.”
#davidbowie #ziggystardust #rocknroll #music #musiclovers #1970s
https://www.youtube.com/watch?v=IWm03wYBTbM&list=PLuR3CWq59OyrTdWAeVkqH3F6UziQICYeN
(via http://www.history.com/this-day-in-history/ziggy-stardust-makes-his-earthly-debut)
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Turn A Samsonite Suitcase Into A Bass Drum
Musical instruments are some of the most expensive pieces of equipment out there. Guitars are way over priced, amplifiers even more so, and good drums are equally as expensive.
Of course you can always buy used gear, but making your own is the cheapest way to go. Plus, depending on the sound and feel of the band, sometimes using homemade gear fits the vibe you want to give off.
Suitcase drums have become regularly used instrument in LoFi and Folk Based Indie music, but the drum we are going to be taking a look at today is specific to Shakey Grave's one man band suitcase drum. It's more complex than a suitcase being hit with a foot pedal. The suitcase itself becomes the drum in this instructable. A drum head and rim is installed into the suitcase.
This drum will sound good, be very portable, and can be mic'd up very easily. That and you can store other gear inside it. Along with that, there will also be a battery powered LED light bar installed on the inside that'll help you set the drum up on a dark stage.
#drums #instruments #music #musiclovers #musicalinstruments #samsonite #musicalequipment #bassdrum
(via/ http://www.instructables.com/id/Turn-A-Samsonite-Suitcase-Into-A-Bass-Drum/)
Musical instruments are some of the most expensive pieces of equipment out there. Guitars are way over priced, amplifiers even more so, and good drums are equally as expensive.
Of course you can always buy used gear, but making your own is the cheapest way to go. Plus, depending on the sound and feel of the band, sometimes using homemade gear fits the vibe you want to give off.
Suitcase drums have become regularly used instrument in LoFi and Folk Based Indie music, but the drum we are going to be taking a look at today is specific to Shakey Grave's one man band suitcase drum. It's more complex than a suitcase being hit with a foot pedal. The suitcase itself becomes the drum in this instructable. A drum head and rim is installed into the suitcase.
This drum will sound good, be very portable, and can be mic'd up very easily. That and you can store other gear inside it. Along with that, there will also be a battery powered LED light bar installed on the inside that'll help you set the drum up on a dark stage.
#drums #instruments #music #musiclovers #musicalinstruments #samsonite #musicalequipment #bassdrum
(via/ http://www.instructables.com/id/Turn-A-Samsonite-Suitcase-Into-A-Bass-Drum/)
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The Day The Music Died
Buddy Holly, Ritchie Valens, and J.P. "the Big Bopper" Richardson Died in a Plane Crash on 3 February 1959.
“It was already snowing at Minneapolis, and the general forecast for the area along the intended route indicated deteriorating weather conditions,” wrote the Civil Aeronautics Board investigators six months after the crash that killed Buddy Holly, Ritchie Valens and J.P. “the Big Bopper” Richardson on this day in 1959.
“The ceiling and visibility were lowering…and winds aloft were so high one could reasonably have expected to encounter adverse weather during the estimated two-hour flight.”
All of this information was available to 21-year-old pilot Roger Peterson, if only he had asked for it. Instead, he relied on an incomplete weather report and on the self-confidence of youth in making the decision to take off from Clear Lake, Iowa, shortly after midnight on February 3, 1959. Untrained and uncertified in instrument-only flight, Peterson was flying into conditions that made visual navigation impossible. “Considering all of these facts,” the investigating authorities concluded, “the decision to go seems most imprudent.”
The young pilot’s decision to go may well have been influenced by the eagerness of his almost equally young client, Buddy Holly, to spare himself and his backing band another miserable night in the unheated tour bus that had already sent his drummer to the hospital with symptoms of frostbite. Eleven days into a scheduled 23-stop tour, Holly was fed up, worn out and looking forward to a good night’s rest in a warm bed before the next night’s show in Moorhead, Minnesota.
In a similar mindset was a tired and ill J.P. Richardson, who played on the sympathies of Holly’s guitarist to wangle his seat on the flight with Holly. That guitarist was future country legend Waylon Jennings. Meanwhile Tommy Allsup, Holly’s guitarist, offered to flip a coin with up-and-coming young star Ritchie Valens for his seat. And so it was that Peterson’s Beechcraft Bonanza carried not Holly and his band, but Holly and two of the three other stars of the Winter Dance Party Tour on its ill-fated flight. Dion di Mucci was the fourth of those stars, but he would join Allsup, Jennings and the various other tour musicians on the freezing bus ride ahead.
The plane would crash, and Holly, Richardson, Valens and Peterson would be dead, within five minutes of takeoff, as the direct result of pilot error. Only the next morning, when Waylon Jennings learned what had happened hours earlier, would he recall his final, good-natured exchange with Buddy Holly. “Well,” said Holly when he learned of Jennings’ swap with the Big Bopper, “I hope your old bus freezes over.” Jennings’ response: “Well, I hope your plane crashes.”
Buddy Holly & His Crickets "That'll Be The Day" on The Ed Sullivan Show
https://www.youtube.com/watch?v=kVGM86XIilw
Ritchie Valens ~ Come On Let's Go (HQ)
https://www.youtube.com/watch?v=oHQ8wI6BlVE
Big Bopper - Chantilly Lace
https://www.youtube.com/watch?v=4b-by5e4saI
#rocknroll #musiclovers #buddyholly #ritchievalens #thebigbopper #50smusic #rocknrolllegends #planecrash #thedaythemusicdied
(via/ http://www.history.com/this-day-in-history/the-music-dies-in-an-iowa-cornfield)
Buddy Holly, Ritchie Valens, and J.P. "the Big Bopper" Richardson Died in a Plane Crash on 3 February 1959.
“It was already snowing at Minneapolis, and the general forecast for the area along the intended route indicated deteriorating weather conditions,” wrote the Civil Aeronautics Board investigators six months after the crash that killed Buddy Holly, Ritchie Valens and J.P. “the Big Bopper” Richardson on this day in 1959.
“The ceiling and visibility were lowering…and winds aloft were so high one could reasonably have expected to encounter adverse weather during the estimated two-hour flight.”
All of this information was available to 21-year-old pilot Roger Peterson, if only he had asked for it. Instead, he relied on an incomplete weather report and on the self-confidence of youth in making the decision to take off from Clear Lake, Iowa, shortly after midnight on February 3, 1959. Untrained and uncertified in instrument-only flight, Peterson was flying into conditions that made visual navigation impossible. “Considering all of these facts,” the investigating authorities concluded, “the decision to go seems most imprudent.”
The young pilot’s decision to go may well have been influenced by the eagerness of his almost equally young client, Buddy Holly, to spare himself and his backing band another miserable night in the unheated tour bus that had already sent his drummer to the hospital with symptoms of frostbite. Eleven days into a scheduled 23-stop tour, Holly was fed up, worn out and looking forward to a good night’s rest in a warm bed before the next night’s show in Moorhead, Minnesota.
In a similar mindset was a tired and ill J.P. Richardson, who played on the sympathies of Holly’s guitarist to wangle his seat on the flight with Holly. That guitarist was future country legend Waylon Jennings. Meanwhile Tommy Allsup, Holly’s guitarist, offered to flip a coin with up-and-coming young star Ritchie Valens for his seat. And so it was that Peterson’s Beechcraft Bonanza carried not Holly and his band, but Holly and two of the three other stars of the Winter Dance Party Tour on its ill-fated flight. Dion di Mucci was the fourth of those stars, but he would join Allsup, Jennings and the various other tour musicians on the freezing bus ride ahead.
The plane would crash, and Holly, Richardson, Valens and Peterson would be dead, within five minutes of takeoff, as the direct result of pilot error. Only the next morning, when Waylon Jennings learned what had happened hours earlier, would he recall his final, good-natured exchange with Buddy Holly. “Well,” said Holly when he learned of Jennings’ swap with the Big Bopper, “I hope your old bus freezes over.” Jennings’ response: “Well, I hope your plane crashes.”
Buddy Holly & His Crickets "That'll Be The Day" on The Ed Sullivan Show
https://www.youtube.com/watch?v=kVGM86XIilw
Ritchie Valens ~ Come On Let's Go (HQ)
https://www.youtube.com/watch?v=oHQ8wI6BlVE
Big Bopper - Chantilly Lace
https://www.youtube.com/watch?v=4b-by5e4saI
#rocknroll #musiclovers #buddyholly #ritchievalens #thebigbopper #50smusic #rocknrolllegends #planecrash #thedaythemusicdied
(via/ http://www.history.com/this-day-in-history/the-music-dies-in-an-iowa-cornfield)
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Great photography and you can feel the #vinyl passion throughout. #musiclovers will love this. h/t to +Jan Tore Skråmestø!
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"I Wanna Hold Your Hand"
1964, The Beatles made their US chart debut when 'I Want To Hold Your Hand' entered the chart at No.45 just ten days after its release, making it the fastest-breaking and the fastest selling single in Capitol Records history. It went on to spend seven weeks at the No.1 position.
"I Want to Hold Your Hand" is a song by the English rock band the Beatles. Written by John Lennon and Paul McCartney, and recorded in October 1963, it was the first Beatles record to be made using four-track equipment.
With advance orders exceeding one million copies in the United Kingdom, "I Want to Hold Your Hand" would have gone straight to the top of the British record charts on its day of release (29 November 1963) had it not been blocked by the group's first million seller "She Loves You", their previous UK single, which was having a resurgence of popularity following intense media coverage of the group. Taking two weeks to dislodge its predecessor, "I Want to Hold Your Hand" stayed at number one for five weeks and remained in the UK top 50 for 21 weeks in total.
It was also the group's first American number one, entering the Billboard Hot 100 chart on 18 January 1964 at number 45 and starting the British invasion of the American music industry. By 1 February it held the number-one spot, and stayed there for seven weeks before being replaced by "She Loves You", a reverse scenario of what had occurred in Britain.
It remained on the Billboard chart for 15 weeks. "I Want to Hold Your Hand" became the Beatles' best-selling single worldwide. *In 2013, Billboard magazine named it the 44th biggest hit of "all-time" on the Billboard Hot 100 charts.
The Beatles - I Want To Hold Your Hand - Performed Live On The Ed Sullivan Show 2/9/64
https://www.youtube.com/watch?v=jenWdylTtzs
#thebeatles #music #musiclover #rocknroll #thisdayinmusic
via/ https://en.wikipedia.org/wiki/I_Want_to_Hold_Your_Hand
image
Beatles' first U.S. concert in Washington, D.C. This rare color image reveals the jelly beans thrown by fans. Fred Ward.
1964, The Beatles made their US chart debut when 'I Want To Hold Your Hand' entered the chart at No.45 just ten days after its release, making it the fastest-breaking and the fastest selling single in Capitol Records history. It went on to spend seven weeks at the No.1 position.
"I Want to Hold Your Hand" is a song by the English rock band the Beatles. Written by John Lennon and Paul McCartney, and recorded in October 1963, it was the first Beatles record to be made using four-track equipment.
With advance orders exceeding one million copies in the United Kingdom, "I Want to Hold Your Hand" would have gone straight to the top of the British record charts on its day of release (29 November 1963) had it not been blocked by the group's first million seller "She Loves You", their previous UK single, which was having a resurgence of popularity following intense media coverage of the group. Taking two weeks to dislodge its predecessor, "I Want to Hold Your Hand" stayed at number one for five weeks and remained in the UK top 50 for 21 weeks in total.
It was also the group's first American number one, entering the Billboard Hot 100 chart on 18 January 1964 at number 45 and starting the British invasion of the American music industry. By 1 February it held the number-one spot, and stayed there for seven weeks before being replaced by "She Loves You", a reverse scenario of what had occurred in Britain.
It remained on the Billboard chart for 15 weeks. "I Want to Hold Your Hand" became the Beatles' best-selling single worldwide. *In 2013, Billboard magazine named it the 44th biggest hit of "all-time" on the Billboard Hot 100 charts.
The Beatles - I Want To Hold Your Hand - Performed Live On The Ed Sullivan Show 2/9/64
https://www.youtube.com/watch?v=jenWdylTtzs
#thebeatles #music #musiclover #rocknroll #thisdayinmusic
via/ https://en.wikipedia.org/wiki/I_Want_to_Hold_Your_Hand
image
Beatles' first U.S. concert in Washington, D.C. This rare color image reveals the jelly beans thrown by fans. Fred Ward.
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Major Vinyl Collector
This is what a serious VINYL collection looks like! Our Crate Diggers series profiles record collectors around the world. Up next: Midwest veteran techno DJ and producer DVS1.
Not many DJs have a backstory like Zak Khutoretsky’s. Born in Saint Petersburg under Soviet regime, Zak moved Minneapolis at a young age, his parents divorced early on, and he spent most of his troubled childhood getting kicked out of schools.
After attending some Midwest raves, he started throwing his own underground parties, aged 18, but also got caught up drug dealing in the scene. He was briefly incarcerated. The experience left him with a new sense of determinism, leading him down a promising path as sound guy, club owner and eventually full-time DJ and producer.
His major breakthrough came in 2009 with a release on Ben Klock’s influential Klockworks label. He’s since launched his own Hush label and party series, as well as sub-label Mistress Recordings for “house, techno and everything in between.” Describing himself as a DJ first, producer second, he’s known for his regular appearances at techno juggernaut Berghain. An avid record collector with a gobsmacking set up, Zak’s been on our Crate Diggers hitlist for some time.
#rocknroll #musiclover #vinyl #vinyllps #recordcollector #dj #musicproducer #technomusic #recordcollection
via/ http://thevinylfactory.com/features/crate-diggers-dvs1/
This is what a serious VINYL collection looks like! Our Crate Diggers series profiles record collectors around the world. Up next: Midwest veteran techno DJ and producer DVS1.
Not many DJs have a backstory like Zak Khutoretsky’s. Born in Saint Petersburg under Soviet regime, Zak moved Minneapolis at a young age, his parents divorced early on, and he spent most of his troubled childhood getting kicked out of schools.
After attending some Midwest raves, he started throwing his own underground parties, aged 18, but also got caught up drug dealing in the scene. He was briefly incarcerated. The experience left him with a new sense of determinism, leading him down a promising path as sound guy, club owner and eventually full-time DJ and producer.
His major breakthrough came in 2009 with a release on Ben Klock’s influential Klockworks label. He’s since launched his own Hush label and party series, as well as sub-label Mistress Recordings for “house, techno and everything in between.” Describing himself as a DJ first, producer second, he’s known for his regular appearances at techno juggernaut Berghain. An avid record collector with a gobsmacking set up, Zak’s been on our Crate Diggers hitlist for some time.
#rocknroll #musiclover #vinyl #vinyllps #recordcollector #dj #musicproducer #technomusic #recordcollection
via/ http://thevinylfactory.com/features/crate-diggers-dvs1/
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Thelonious Monk
Thelonious Monk performing at the Newport JVC Jazz Festival
Thelonious Sphere Monk (/θəˈloʊniəs/, October 10, 1917 – February 17, 1982) was an American jazz pianist and composer. Monk had a unique improvisational style and made numerous contributions to the standard jazz repertoire, including "'Round Midnight", "Blue Monk", "Straight, No Chaser" "Ruby, My Dear", "In Walked Bud", and "Well, You Needn't". Monk is the second most-recorded jazz composer after Duke Ellington, which is particularly remarkable as Ellington composed more than 1,000 pieces, whereas Monk wrote about 70.
His compositions and improvisations feature dissonances and angular melodic twists, and are consistent with Monk's unorthodox approach to the piano, which combined a highly percussive attack with abrupt, dramatic use of switched key releases, silences and hesitations.
He was renowned for his distinctive style in suits, hats, and sunglasses. He was also noted for an idiosyncratic habit observed at times during performances: while the other musicians in the band continued playing, he would stop, stand up from the keyboard, and dance for a few moments before returning to the piano.
Monk is one of five jazz musicians to have been featured on the cover of Time, after Louis Armstrong, Dave Brubeck, and Duke Ellington and before Wynton Marsalis.
#theloniousmonk #jazzmusic #jazz #piano #musiclover #americanmusic #roundmidnight
Thelonious Monk - 'round Midnight
https://www.youtube.com/watch?v=IKayR1oqC7w
Blue Monk, Thelonius Monk
https://www.youtube.com/watch?v=_40V2lcxM7k
Thelonious Monk - Straight,No Chaser /Classic Modern Jazz
https://www.youtube.com/watch?v=IrucUjaxjO4
Thelonious Monk - Ruby, My Dear
https://www.youtube.com/watch?v=jymS_7zyy7c
THELONIOUS MONK, In Walked Bud
https://www.youtube.com/watch?v=rLwZ0QnwUBg
Thelonious Monk-Well, You Needn't
https://www.youtube.com/watch?v=FOvKLvWuZjg
Thelonious Monk - Epistrophy on Columbia Records from early 1960's Concert.
https://www.youtube.com/watch?v=_E_P9IXGZAw
Thelonious Monk - Underground (HD FULL ALBUM)
https://www.youtube.com/watch?v=eXKIEJ0ez98
Thelonious Monk performing at the Newport JVC Jazz Festival
Thelonious Sphere Monk (/θəˈloʊniəs/, October 10, 1917 – February 17, 1982) was an American jazz pianist and composer. Monk had a unique improvisational style and made numerous contributions to the standard jazz repertoire, including "'Round Midnight", "Blue Monk", "Straight, No Chaser" "Ruby, My Dear", "In Walked Bud", and "Well, You Needn't". Monk is the second most-recorded jazz composer after Duke Ellington, which is particularly remarkable as Ellington composed more than 1,000 pieces, whereas Monk wrote about 70.
His compositions and improvisations feature dissonances and angular melodic twists, and are consistent with Monk's unorthodox approach to the piano, which combined a highly percussive attack with abrupt, dramatic use of switched key releases, silences and hesitations.
He was renowned for his distinctive style in suits, hats, and sunglasses. He was also noted for an idiosyncratic habit observed at times during performances: while the other musicians in the band continued playing, he would stop, stand up from the keyboard, and dance for a few moments before returning to the piano.
Monk is one of five jazz musicians to have been featured on the cover of Time, after Louis Armstrong, Dave Brubeck, and Duke Ellington and before Wynton Marsalis.
#theloniousmonk #jazzmusic #jazz #piano #musiclover #americanmusic #roundmidnight
Thelonious Monk - 'round Midnight
https://www.youtube.com/watch?v=IKayR1oqC7w
Blue Monk, Thelonius Monk
https://www.youtube.com/watch?v=_40V2lcxM7k
Thelonious Monk - Straight,No Chaser /Classic Modern Jazz
https://www.youtube.com/watch?v=IrucUjaxjO4
Thelonious Monk - Ruby, My Dear
https://www.youtube.com/watch?v=jymS_7zyy7c
THELONIOUS MONK, In Walked Bud
https://www.youtube.com/watch?v=rLwZ0QnwUBg
Thelonious Monk-Well, You Needn't
https://www.youtube.com/watch?v=FOvKLvWuZjg
Thelonious Monk - Epistrophy on Columbia Records from early 1960's Concert.
https://www.youtube.com/watch?v=_E_P9IXGZAw
Thelonious Monk - Underground (HD FULL ALBUM)
https://www.youtube.com/watch?v=eXKIEJ0ez98
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